That first note (or loop) . . .

[ArsOcarina@aol.com]

Per (et al),

In a message dated 04/30/05 0:02:43, per@boysen.se writes:

> I think this is one of the keys for doing a good live performance. 
> The first note you play is the most important! It has to be mean 
> as hell. It has to be magnificent. The first note (or loop) you play 
> has to sum up emotionally what you are going to do, why you 
> are standing there on the stage. The first note justifies the 
> concert. If the first note sucks nothing can save the gig.

That's probably why I may never be very good at this. The first note 
(or lick, or loop) IS important to me -- I build off of it. But it's not THAT 
important. I almost prefer to start out with a whisper of something --
or some musical bit or fragment that is sooo minimal that it almost 
means nothing more than a pulse or slight suggestion of key -- the
more ambiguous the better. And, THEN build toward something.

One of my favorite compositional techniques is to gradually lure the 
listener in (promising nothing, but suggesting all sorts of vague mysterious
possibilities) and then, suddenly, WHACK them on the side of the head! An
example of that is easily heard (before and after) the woozy, depressive 
eBow intro to the track "Cauterant Baptism" on my CD. Nothing of what's
heard BEFORE gives much of a hint of what's coming down the pike right 
at you AFTER. You can sense something is coming but have no idea what.

I like doing that. But then I AM a little sick and twisted anyway.

I once saw John Zorn play a rare gig in Southern California with his band,
Masada. The opening act was a very creative and LOUD local rock band. 
When Zorn and Co. took the stage they all played acoustically and very 
quietly at first -- almost below the level of the ability of audience at the 
back of the room to even hear. Nothing had been said. But, the voices 
and clinking glasses all gradually hushed as everyone strained to hear.
Folks were leaning forward in their seats -- expectant. This went on 
for a minute or two -- 'til there was absolute silence except or the band. 
Then WHAMMM!!! The players launched full-force into what they are 
known to do -- a sort of loud, scabrous, free-form, harmolodic mix
of squealing, ear-blistering free jazz and klezmer music that had the
crown stamping and cheering. That's about the best example of what 
I'm talking about I've ever seen or heard. It's impressed me ever since.

Like I said, I'm sick and twisted.

Best regards,

tEd ® kiLLiAn

"Different is not always better, but better is always different"

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